Salman Rushdie - The Satanic Verses

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No book in modern times has matched the uproar sparked by Salman Rushdie's The Satanic Verses, which earned its author a death sentence. Furor aside, it is a marvelously erudite study of good and evil, a feast of language served up by a writer at the height of his powers, and a rollicking comic fable. The book begins with two Indians, Gibreel Farishta ("for fifteen years the biggest star in the history of the Indian movies") and Saladin Chamcha, a Bombay expatriate returning from his first visit to his homeland in 15 years, plummeting from the sky after the explosion of their jetliner, and proceeds through a series of metamorphoses, dreams and revelations. Rushdie's powers of invention are astonishing in this Whitbread Prize winner.
From Publishers Weekly Banned in India before publication, this immense novel by Booker Prize-winner Rushdie ( Midnight's Children ) pits Good against Evil in a whimsical and fantastic tale. Two actors from India, "prancing" Gibreel Farishta and "buttony, pursed" Saladin Chamcha, are flying across the English Channel when the first of many implausible events occurs: the jet explodes. As the two men plummet to the earth, "like titbits of tobacco from a broken old cigar," they argue, sing and are transformed. When they are found on an English beach, the only survivors of the blast, Gibreel has sprouted a halo while Saladin has developed hooves, hairy legs and the beginnings of what seem like horns. What follows is a series of allegorical tales that challenges assumptions about both human and divine nature. Rushdie's fanciful language is as concentrated and overwhelming as a paisley pattern. Angels are demonic and demons are angelic as we are propelled through one illuminating episode after another. The narrative is somewhat burdened by self-consciousness that borders on preciosity, but for Rushdie fans this is a splendid feast.
Review "A glittering novelist – one with startling imagination and intellectual resources, a master of perpetual storytelling." – V.S. Pritchett, "Abundant in enchanting narratives and amazingly peopled,
is both a philosophy and an Arabian nights entertainment. What wit, what real warmth in Rushdie’s thousand-eyed perceptions of the inferno within us and the vainglory of our aspirations! His ambitions are huge, and his creativity triumphantly matches them...A staggering achievement, brilliantly enjoyable." – Nadine Gordimer
"A masterpiece." – Bill Bruford,
"Swift's Gulliver's Travels, Voltaire's Candide, Sterne's Tristam Shandy.... Salman Rushdie, it seems to me, is very much a latter day member of their company." – "Further evidence of Rushdie’s stature as one of the most original, imaginative, perplexing, and important writers of our time." – "A novel of metamorphoses, hauntings, hallucinations, revelations, advertising jingles jokes… Rushdie has the power of description, and we succumb." – Victoria Glendinning, "An exhilarating… populous, loquacious, sometimes hilarious, extraordinary contemporary novel… a roller coaster ride over a vast majority of the imagination" – Angela Carter, "A truly original novel…sustained at headlong pace by the author whose powers of invention and construction, command of every variety of English and Anglo-Indian idiom, sense of desperate comedy, and within of intellectual reference have been well-exercised before, but neber on such a scale." – Hyam Maccoby,

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After they landed the hijackers released all but fifty of the passengers, having decided that fifty was the largest number they could comfortably supervise. Women, children, Sikhs were all released. It turned out that Saladin Chamcha was the only member of Prospero Players who was not given his freedom; he found himself succumbing to the perverse logic of the situation, and instead of feeling upset at having been retained he was glad to have seen the back of his badly behaved colleagues; good riddance to bad rubbish, he thought.

The creationist scientist Eugene Dumsday was unable to bear the realization that the hijackers did not intend to release him. He rose to his feet, swaying at his great height like a skyscraper in a hurricane, and began shouting hysterical incoherences. A stream of dribble ran out of the corner of his mouth; he licked at it feverishly with his tongue. Now just hold hard here, busters, now goddamn it enough is ENOUGH, whaddya wheredya get the idea you can and so forth, in the grip of his waking nightmare he drivelled on and on until one of the four, obviously it was the woman, came up, swung her rifle butt and broke his flapping jaw. And worse: because slobbering Dumsday had been licking his lips as his jaw slammed shut, the tip of his tongue sheared off and landed in Saladin Chamcha's lap; followed in quick time by its former owner. Eugene Dumsday fell tongueless and insensate into the actor's arms.

Eugene Dumsday gained his freedom by losing his tongue; the persuader succeeded in persuading his captors by surrendering his instrument of persuasion. They didn't want to look after a wounded man, risk of gangrene and so on, and so he joined the exodus from the plane. In those first wild hours Saladin Chamcha's mind kept throwing up questions of detail, are those automatic rifles or sub-machine guns, how did they smuggle all that metal on board, in which parts of the body is it possible to be shot and still survive, how scared they must be, the four of them, how full of their own deaths... once Dumsday had gone, he had expected to sit alone, but a man came and sat in the creationist's old seat, saying you don't mind, yaar, in such circs a guy needs company. It was the movie star, Gibreel.

*

After the first nervous days on the ground, during which the three turbaned young hijackers went perilously close to the edges of insanity, screaming into the desert night you bastards, come and get us , or, alternatively, o god o god they're going to send in the fucking commandos, the motherfucking Americans, yaar, the sisterfucking British , – moments during which the remaining hostages closed their eyes and prayed, because they were always most afraid when the hijackers showed signs of weakness, – everything settled down into what began to feel like normality. Twice a day a solitary vehicle carried food and drink to Bostan and left it on the tarmac. The hostages had to bring in the cartons while the hijackers watched them from the safety of the plane. Apart from this daily visit there was no contact with the outside world. The radio had gone dead. It was as if the incident had been forgotten, as if it were so embarrassing that it had simply been erased from the record. The bastards are leaving us to rot,’ screamed Man Singh, and the hostages joined in with a will. ‘Hijras! Chootias! Shits!’

They were wrapped in heat and silence and now the spectres began to shimmer out of the corners of their eyes. The most highly strung of the hostages, a young man with a goatee beard and close-cropped curly hair, awoke at dawn, shrieking with fear because he had seen a skeleton riding a camel across the dunes. Other hostages saw coloured globes hanging in the sky, or heard the beating of gigantic wings. The three male hijackers fell into a deep, fatalistic gloom. One day Tavleen summoned them to a conference at the far end of the plane; the hostages heard angry voices. ‘She's telling them they have to issue an ultimatum,’ Gibreel Farishta said to Chamcha. ‘One of us has to die, or such.’ But when the men returned Tavleen wasn't with them and the dejection in their eyes was tinged, now, with shame. ‘They lost their guts,’ Gibreel whispered. ‘No can do. Now what is left for our Tavleen bibi? Zero. Story funtoosh.’

What she did:

In order to prove to her captives, and also to her fellow-captors, that the idea of failure, or surrender, would never weaken her resolve, she emerged from her momentary retreat in the first-class cocktail lounge to stand before them like a stewardess demonstrating safety procedures. But instead of putting on a lifejacket and holding up blow-tube whistle etcetera, she quickly lifted the loose black djellabah that was her only garment and stood before them stark naked, so that they could all see the arsenal of her body, the grenades like extra breasts nestling in her cleavage, the gelignite taped around her thighs, just the way it had been in Chamcha's dream. Then she slipped her robe back on and spoke in her faint oceanic voice. ‘When a great idea comes into the world, a great cause, certain crucial questions are asked of it,’ she murmured. ‘History asks us: what manner of cause are we? Are we uncompromising, absolute, strong, or will we show ourselves to be timeservers, who compromise, trim and yield?’ Her body had provided her answer.

The days continued to pass. The enclosed, boiling circumstances of his captivity, at once intimate and distant, made Saladin Chamcha want to argue with the woman, unbendingness can also be monomania, he wanted to say, it can be tyranny, and also it can be brittle, whereas what is flexible can also be humane, and strong enough to last. But he didn't say anything, of course, he fell into the torpor of the days. Gibreel Farishta discovered in the seat pocket in front of him a pamphlet written by the departed Dumsday. By this time Chamcha had noticed the determination with which the movie star resisted the onset of sleep, so it wasn't surprising to see him reciting and memorizing the lines of the creationist's leaflet, while his already heavy eyelids drooped lower and lower until he forced them to open wide again. The leaflet argued that even the scientists were busily re-inventing God, that once they had proved the existence of a single unified force of which electromagnetism, gravity and the strong and weak forces of the new physics were all merely aspects, avatars, one might say, or angels, then what would we have but the oldest thing of all, a supreme entity controlling all creation... ‘You see, what our friend says is, if you have to choose between some type of disembodied force-field and the actual living God, which one would you go for? Good point, na? You can't pray to an electric current. No point asking a wave-form for the key to Paradise.’ He closed his eyes, then snapped them open again. ‘All bloody bunk,’ he said fiercely. ‘Makes me sick.’

After the first days Chamcha no longer noticed Gibreel's bad breath, because nobody in that world of sweat and apprehension was smelling any better. But his face was impossible to ignore, as the great purple welts of his wakefulness spread outwards like oil-slicks from his eyes. Then at last his resistance ended and he collapsed on to Saladin's shoulder and slept for four days without waking once.

When he returned to his senses he found that Chamcha, with the help of the mouse-like, goateed hostage, a certain Jalandri, had moved him to an empty row of seats in the centre block. He went to the toilet to urinate for eleven minutes and returned with a look of real terror in his eyes. He sat down by Chamcha again, but wouldn't say a word. Two nights later, Chamcha heard him fighting, once again, against the onset of sleep. Or, as it turned out: of dreams.

‘Tenth highest peak in the world,’ Chamcha heard him mutter, ‘is Xixabangma Feng, eight oh one three metres. An-napurna ninth, eighty seventy-eight.’ Or he would begin at the other end: ‘One, Chomolungma, eight eight four eight. Two, K2, eighty-six eleven. Kanchenjunga, eighty-five ninety-eight, Makalu, Dhaulagiri, Manaslu. Nanga Parbat, metres eight thousand one hundred and twenty-six.’

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